Harlem's
Carlton Jumel Smith has been fronting bands and making records for the better part of 40 years. Whether singing house and/or techno under a stage name (
Napoleon Soul-O), fronting the funky rock band
the Thrill Cycle, subbing for
James Brown (whom he played in
Barry Levinson's 1999 film
Liberty Heights) and
Ray Charles, playing clubs in New York and Europe, or cutting his own independent records,
Smith has done it all.
1634 Lexington Avenue is his debut long-player for Finland's premier indie soul label,
Timmion, and his first full-length since 2008. The title reflects
Smith's childhood address. He is backed by Helsinki's
Cold Diamond & Mink,
Timmion's production team and studio band led by guitarist/organist
Seppo Salmi, bassist
Sami Kantelinen, and drummer
Jukka Sarapaeae. The horn section includes arranger/trumpeter
Jukka Eskola,
Pope Puolitaival on baritone sax, and global jazz-funk saxophonist
Jimi Tenor, with
Janne Auvinen on congas and
Tuomo Praettaelae on organ, piano, and background vocals filling. The ten-song set was co-composed by
Smith and the band via the Internet, then cut live in studio with each song captured in one or two takes.
While
Smith claims
Brown as his biggest influence, it's obvious he also reveres the sounds of Memphis'
Hi-Records and
Stax, Detroit's
Motown, and Chicago's
Curtom. Set opener "Woman You Made Me," is a '70s-esque dancefloor slipper, steeped in punchy horns and funky wah-wah guitar slashing out major sevenths as
Smith growls passionately. "Love Our Love Affair," is smoother, inspired by Chicago's harmony groups from the
Impressions to the
Chi-Lites, underscored by a killer trumpet break.
Smith's phrasing, command of tone and dynamic, and smoldering passion color each note. "Remember Me," is deeply romantic;
Smith allows
Al Green's vocal gifts for understatement and balance to guide him. The rhythm section and backing vocals stroll behind and frame his delivery. The sultry single "This Is What Love Looks Like," is a mid-tempo groover that's sexy, poetic, and committed. "You Gonna Need Me," is possessed by a Memphis vibe, drenched in
Smith's sweet baritone that weds gospel, soul, and blues in its grain. The upright piano, popping bass line, and sweeping horns make this nearly rhapsodic. "We're All We Got," is a socially conscious, up-tempo call to brotherhood; it's (spiritually) reminiscent of
Curtis Mayfield's "Move on Up" but filtered through early Latin funk and jazzy Chicago horns. Closer "I Can't Love You Anymore" is drenched in
Brown's break-saturated funky soul with
Smith adding a passionate falsetto to the swaying horns, spiky guitars, bubbling bass line, and simmering B-3.
1634 Lexington Avenue is the album
Smith through his wandering and woodshedding has been promising for decades now. It is retro to be sure, but free of artifice or false appropriation. He is personally invested in these songs and it shows. Essential. ~ Thom Jurek
